Girls at the Lamwo Kuc Ki Gen High School, northern Uganda. Photograph courtesy of Peas
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The learning curve

In 2016, commercial-scale oil production will begin in Uganda. But with only a quarter of all its children in secondary school, how can more of the people – especially girls – benefit from its new wealth?

“John-Mary has always had dreams,” says Justine Nantengo of her son, who stands smart and shy in his crisp blue shirt on the dirt floor of their tiny mud-brick home. In this district, on the western edges of Kampala, where the urban sprawl gives way to green and where tarmacked roads dwindle to rutted, rust-red tracks, if you don’t have dreams you have nothing.

For a long time John-Mary dreamed of finishing secondary school, but the few local schools were too expensive for his single mother, supporting five children on a plantation worker’s salary. Then in 2008 Onwards and Upwards opened, a secondary school run by Peas – Promoting Equality in African Schools, a social enterprise and charity hybrid. School fees were only 52,000 Ugandan shillings (£12) a term, less than half the price of the average private school and USh19,000 (£5) lower than fees at the supposedly free government schools.

John-Mary, who was then 19, enrolled, graduated with the third-highest grades in the district and is now funding the cost of studying for a degree in education at Makerere University in Kampala by teaching at Onwards and Upwards. He hopes to teach full-time, to fund his younger siblings through school, perhaps, one day, rebuild the family’s decrepit home and allow his mother to retire.

Like many countries across Africa, Uganda has made considerable progress in increasing primary-school enrolment rates. Under the UN Millennium Development Goals introduced in 2000, national governments pledged to achieve universal primary education by 2015. Across sub-Saharan Africa, this led to an increase in net primary-school enrolment rates from 18 per cent in 1999 to 76 per cent in 2009.

The Ugandan government, led by Yoweri Museveni, introduced universal primary education in 1997, three years before the UN pledge. According to Ugandan government statistics, net enrolment rates rose from 57 per cent to 85 per cent in 1997 alone, and today just over 90 per cent of children are enrolled.

But this created a second problem, says Ismael Mulindwa, head of policy and regulations at the Ugandan ministry of education. “In the space of one or two years, the number of children in primary school shot up from about two million to seven million [Uganda has a population of 34.5 million]. When these children reached their final year of primary, another question came in: where do they go now?”

Uganda took an unusual step. In 2007, it became one of the first African countries to set a goal of universal secondary education, but the government accepted that it lacked the capacity to implement the programme directly. “At that point, we had around 800 government secondary schools, which could not take up that big number of school leavers. So we now thought of forging a partnership with private schools, to help absorb these numbers,” Mulindwa told me. The government encouraged private schools to step in by offering schools participating in the programme an annual grant of USh141,000 (£35) per pupil. In exchange for accepting the government subsidy, the participating schools agree not to charge tuition fees – but most schools get around this by imposing inflated top-up charges for lunch, uniforms and books instead.

The policy has yielded mixed results: enrolment has improved, but the quality of schooling is varied and often bad. Private providers can be costly and schools have been closed down suddenly when profits dried up. Large parts of the population are still not served by any secondary schools.

Peas, however, is pioneering a new model to provide access to affordable but high-quality secondary education in those areas where the demand is greatest. The capital and start-up costs for each Peas school are raised in the UK, but the organisation doesn’t want its schools to remain dependent on unsustainable foreign donations. A combination of the annual subsidy from the Ugandan government, low fees to cover lunch costs and an income-generating activity – often a farm attached to the school – aims to make every Peas school financially independent.

“Peas is run as a social enterprise,” says John Rendel, the organisation’s chief executive, “so the capital that people invest into the launch of each school sets up a business, which will not just support one child through school, but will support that child, then their brother, their sister, and so on, ad infinitum.”

There are now 13 Peas-run schools in Uganda as well as one pilot project in Zambia, and it is already one of the largest secondary school networks in Africa. It hopes to build 100 schools in Uganda by 2017, creating 100,000 low-cost secondary school places.

The task is huge. In Uganda only one in four children of secondary school age is in school. For a boy such as John-Mary, to miss out on secondary school is to be consigned to a life of poverty in a country where 38 per cent of the people live on less than $1.25 a day. For a girl, the consequences can be even worse.

Of Justine’s five children, only Mary hasn’t completed primary school – as a girl, she couldn’t contribute to her fees by making bricks. Mary Nantume married at 15. She now sits in one corner of the room with a polite but dazed smile and lets Justine and John-Mary speak for her. She has recently left her husband, returning home to live with Justine. Under Baganda custom, her husband will retain full custody of their children, aged three, five and seven.

“Men here are not easy,” John-Mary explains. “When you’re not educated, they treat marriage as employment and when you are a poor girl, they will mistreat you.”

Marriage is often one of the very few options open to an uneducated girl living in poverty. Because it is customary to receive a dowry, marrying a daughter early can be an attractive proposition for parents, too.

Around Kampala are several large, shiny billboards of a suited man punching a well-dressed woman, with the headline “Is this a fair fight?”. Domestic violence is common and even widely accepted in many Ugandan communities – and these posters are of little value if you can’t read. Nor is it easy, in any case, to leave an abusive relationship if you don’t have independent means. In many parts of Uganda, once a dowry has been exchanged, the husband will expect a “refund” should his wife leave. Whether the dowry was paid in money that has been spent, or on animals that have been reared and resold, this is seldom possible, leaving women trapped in unhappy marriages.

Education is not an instant cure to gender inequality, but the statistics for the benefits are unambiguous: an educated girl is seven times less likely to become HIV-positive, her children are twice as likely to live beyond the age of five and each year of secondary school can add between 15 and 25 per cent to her salary.

Onwards and Upwards has been especially successful in getting girls into school. Girls make up 56 per cent of pupils, and almost twothirds of them are boarders. “I had a parent here last week who had lots of children and has to choose which ones he will support through school this year,” the director of the Onwards and Upwards school, Moses Mwanje, told me.

“I asked him, ‘What criteria are you using?’ And he said he wanted to educate those that are most vulnerable first, so he chose his girls.”

Pregnant pause

Travel about 250 kilometres west of Kampala and you reach the trading village of Kigorobya. The whole village amounts to little more than a handful of wooden shacks and bare shops hugging close to the earth road, where children play in the dirt while their mothers do household chores. In this small and deprived outpost, Green Shoots, another Peas school, is faced with a very big problem.

Since it launched in 2010, 45 of the Green Shoots pupils have dropped out of school after falling pregnant. Six have since returned. Teen - age pregnancy rates in Kigorobya are exceptionally high, the result of a combination of poverty and a quirk of local marriage customs. “In most parts of Uganda, if a man gets a girl pregnant he will have to pay a bride price to her family,” says Christine Apiot, Peas’s senior director of education. “But around Kigorobya, there is no dowry system, so when a man here gets a girl pregnant, he doesn’t have to pay.”

Scovia Bamukuhda is one of only two girls in the final year at Green Shoots, and she believes that poverty has driven many of her peers to have children. “Maybe it is a problem of poverty, because they try to get some money. Now if they get money, they get the money through having sex,” she explains.

Stellah Kimuli, two years Scovia’s junior and quietly confident, says: “Another problem is maybe those husbands have money and will pay for them so they can go to school, and then they are getting pregnant.” It is hard to intervene because girls are often secretive about their sources of support. “You cannot know that there is someone who is paying for them,” Stellah says. “She just plays with you, socializes with you, but she doesn’t tell you. You only realize when the girl is already pregnant.”

Stellah was orphaned at nine, and now her uncle pays her boarding fees. She says she has resisted pressure to get married because she is “patient”. Although she is not sure if her uncle will pay for further studies, she wants to become a nurse, and believes the long-term benefits of education will outweigh the short-term benefits of marriage. “I am not even willing to get married. Because I can see I’m a poor girl and if I go and get married right now it’s not easy. It’s like this: as I still have a chance to be helped, let me make the most of that chance.”

To encourage more pupils to follow Scovia’s and Stellah’s lead, the school regularly invites successful women to speak to the girls, and it has arranged for them to receive free counselling and HIV tests at a local health clinic. It has launched an outreach campaign to convince parents to keep their girls in school. According to the headteacher, Simon Okwera, the outreach campaign has led to a fall in the number of girls dropping out because of pregnancy as well as an increase in the number of female boarders.

One of the community’s most vocal and longstanding advocates for girls’ education is Sarah Ntiro, Uganda’s first female university graduate, who was sponsored by the British government to study at Oxford from 1951-54. She was born in Hoima, a city a few kilometres away from Kigorobya, and still lives there today, in a neat concrete house on the edge of town.

“My mother went to school, I went to school, my children and nephews and nieces have gone to university, my grandchildren are graduates and there are people unable to read and write. In 2012. It’s shocking,” she says. “It isn’t that these people don’t see the value of education – they are not even aware that there’s a need. If they were aware they’d fear being left behind, and these people don’t want to be left behind.”

Hoima is poised on the edge of change. In 2016, commercial production is due to start at Uganda’s first oilfield, in the nearby Albertine Rift basin. There are hints of how oil money might transform the region: there’s an incongruous, shopping-mall-shaped hole in Hoima’s clapped-out downtown and, closer to Lake Albert, the occasional oil company compound stands out amid the mud-and-thatch huts. Samuel Nyendwoha, who farms tobacco here and leads the Green Shoots parent-teacher association, says local people grumble that oil companies are bringing in workers from Kampala and further afield. Uneducated locals can at best hope for casual manual labour.

In this sense, Hoima provides an example of a process that is repeating itself across Uganda, and indeed Africa. Foreign investment on the continent may be one route to more rapid economic growth, but although this will enrich a small, educated elite, the swaths of the population that lack the skills to participate in foreigninvestment- driven business will experience little improvement in their wages or standard of living. If, or when, foreign investment transforms Uganda, the uneducated will, in Sarah Ntiro’s words, be “left behind”.

Uganda cannot attain sustainable and inclusive growth if only a quarter of its children enroll in secondary school. “Education is our only foundation, our only future,” Justine Nantengo says. She could be talking about much more than her family of six and their battered mudbrick home on the fringes of Kampala.

Peas’s “Back to School” appeal aims to change the lives of over 16,000 children in Uganda by ensuring that they have a quality secondary school education over the next three years. Until 13 December, the British government will match all public donations to “Back to School” pound for pound. More details at: peas.org.uk

Sophie McBain is a freelance writer based in Cairo. She was previously an assistant editor at the New Statesman.

This article first appeared in the 19 November 2012 issue of the New Statesman, The plot against the BBC

Martin O’Neil for New Statesman
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Why the British addiction to period drama is driving away our best black and Asian actors

There is a diversity crisis in British TV and film as, increasingly, stars are decamping to America to make their career there.

Back in April, a six-part drama called Undercover premiered on BBC1. Perhaps you were one of the five million people who watched it: the story was audacious and continent-hopping, enfolding a narrative about a man on death row in the United States with an all-too-believable tale of a Metropolitan Police officer who marries a woman he is meant to be keeping under surveillance.

The reason the programme attracted so much attention, however, was not what it was about, but whom. Starring Sophie Okonedo and Adrian Lester, Undercover was widely reported as the first mainstream British television drama with black actors in the lead roles. This wasn’t true: as James Cooray Smith wrote on the New Statesman website, that milestone was passed in June 1956 by Mrs Patterson, a BBC adaptation of a Broadway play starring Eartha Kitt.

Yet Undercover was still a breakthrough. Smith, casting his mind back over more than six decades of British television, could not think of more than a handful of other examples. Writing in the Observer, Chitra Ramaswamy expressed her feelings with quiet devastation: “In 2016, it is an outrage that it’s a big deal to see a successful, affluent, complicated black family sit at a ­dinner table eating pasta.” Think about that. In 2016 in Britain, a country where more than nine million people describe themselves as non-white, it is news that a black, middle-class family should not only feature in a prime-time BBC drama but be at its heart. Undercover exposed how white most British television is.

Actors of colour have appeared on British film and TV screens for decades, and they have been visible on British stages for centuries – yet they have been shunted into the margins with depressing regularity. In January the actor Idris Elba urged British MPs to take the matter seriously. “Although there’s a lot of reality TV,” he argued, “TV hasn’t caught up with reality.”

In February, there was renewed uproar over the lack of racial diversity in Hollywood at the 88th Academy Awards, and the infuriated hashtag #OscarsSoWhite blossomed again on social media. A month later, Lenny Henry argued that black and minority ethnic (BAME) talent was being “ghettoised”. The term could hardly be more charged. Speaking at the London premiere of Mira Nair’s film Queen of Katwe, the actor David Oyelowo said: “What we need now is for a change to come. I think the talk is done.”

There has been some change. In March, the Royal Shakespeare Company opened a production of Hamlet starring Paapa Essiedu, an actor of Ghanaian heritage raised in London. It was the first time that a black performer had taken the role for the company. A new set of BBC diversity targets both on- and off-screen was unveiled in April. Noma Dumezweni is playing Hermione in Harry Potter and the Cursed Child in the West End, and in October the BFI launched Black Star, a nationwide season celebrating black talent in film and TV. But what does the picture really look like, in late 2016? And what, if anything, needs to change?

The first challenge is that many in the film and TV industry find it difficult to talk about the subject. Researching this article, I lost count of the number of people who demurred to go on the record, or of actors who seemed eager to speak but were then dissuaded. Fatigue might be partly to blame – it’s exhausting to be asked repeatedly about diversity because you didn’t go to Harrow and your skin isn’t white – but I got the sense that there’s more going on.

One man who passionately believes this is the screenwriter Trix Worrell, the creator of the pioneering Channel 4 sitcom Desmond’s, which brought an African-Caribbean barbershop in south-east ­London to Middle England’s living rooms in the late 1980s and early 1990s.

“TV is very difficult to break into. There’s a protectionism there,” he says with a shrug, when we meet for coffee on the seafront in Hastings, where he now lives. “People are nervous about rocking the boat.”

Though cheerful about most of the things we discuss, Worrell admits to feeling a roiling anger when it comes to this particular matter. Does he think that diversity has improved since he was pitching Desmond’s, three decades ago? “No. I say that with absolute certainty and surety.”

It is hard to underestimate the influence that Desmond’s had. The series ran for 71 episodes and at its peak it had five million viewers, remarkable for a sitcom. Starring the veteran actor Norman Beaton alongside a largely British-Guyanese cast, it made that community visible in a way that has not been rivalled in Britain in the 22 years since it came off air. It did so with the deftest of touches, addressing problems of interracial relationships and tensions within the black community through warm comedy.

“Up to that point, black people were ­never seen on TV,” Worrell recalls. “The only time we appeared in any media was in the red tops – muggings, vice. The idea was to show a black family who were just like any other.” Yet it seems that, apart from the spin-off comedy series Porkpie, occasioned by Beaton’s sudden death in 1994, Channel 4 has regarded the idea of portraying a normal black family in a sitcom as too great a gamble in the years since, despite an increase in the number of non-white roles in its other drama output.

Worrell smiles, but it is clear that the ­matter isn’t a joke. “The thing that’s said among black people is that there’ll only be one black sitcom every ten years.”

***

When I phone Paapa Essiedu while he’s on a lunch break from Hamlet, I am prepared to get a more positive perspective. Just 26, Essiedu has had a spectacular and seemingly unimpeded rise. A graduate of the prestigious Guildhall School of Music and Drama in London, he joined the RSC in 2012 and then hopped to the National Theatre in Sam Mendes’s King Lear, before returning to Stratford. The Telegraph greeted his debut as Hamlet with the notice that every actor dreams of: “A new star is born”.

But Essiedu seems ready to implode with frustration. “It’s ridiculous,” he says. “This stuff has been here for decades and decades: we’re lying to ourselves if we think there’s been a lack of awareness until now. Lots of people are talking and talking, but we need action.” Has he experienced racism directly? “Put it this way: quite often, I’ve been in a room where everyone else is white.”

A major issue, he says, is the apparently unshakeable addiction of British TV and film to corsets-and-cleavage period drama, which has left many BAME actors locked out of the audition room. The BBC is in the middle of a run of literary spin-offs, from War and Peace to The Moonstone. Over on ITV, we have had Victoria and the invincible Downton Abbey.

It still feels as though much of British drama is stuck in an airbrushed version of the country’s past. Though partly set in contemporary Egypt, BBC1’s adaptation of The Night Manager by John le Carré had only a handful of non-white actors in significant roles. Allowing for exceptions such as the BBC’s version of Andrea Levy’s Windrush-era novel Small Island, broadcast in 2009, you could be forgiven for thinking, had you never visited Britain, that people of only one skin colour live in this country. That the largely white drama series are successful on the export market only helps to extend the cycle.

“Producers say, ‘Oh, we commission stuff that people want to watch,’” Essiedu tells me. “But it’s such a narrow version of history – middle-to-upper-class Caucasian men, generally. Period drama can be from anywhere in the world: Africa, Asia. Where are those stories?”

Drama is just a sliver of broadcasting output, but other genres aren’t much better. Journalists from ethnic-minority backgrounds have made steady progress in television newsrooms – but not fast enough, Channel 4’s Krishnan Guru-Murthy has ­argued; there is a glaring absence, however, when it comes to lifestyle and entertainment TV. The recent success of the intrepid youth TV star Reggie Yates notwithstanding, it is difficult to ignore or account for the dearth of BAME presenters in documentaries and “serious” factual programming; and no major current British chat show has a permanent anchor who isn’t white.

Adil Ray’s BBC1 comedy Citizen Khan, which focuses on the escapades of the overbearing Muslim patriarch Mr Khan and his family in the Sparkhill area of Birmingham, is a rare exception. It has just returned for a fifth season. A worthy successor to Desmond’s in its tongue-in-cheek approach to potentially inflammatory issues (the 2014 Christmas special featured the birth of Mr Khan’s grandson, Mohammad, on Christmas Day) the programme also resembles its forebear in a more depressing way: it appears to be one of a kind.

When I ask Ray why he thinks this is, he selects his words carefully. “It’s not prejudice exactly,” he says, “but in the TV business, there are a lot of formulas. If you’re doing curry, get an Asian person. If it’s hip-hop, someone who’s black. If you’re doing a walk in the countryside, or drinking tea in the Cotswolds . . .” He leaves the sentence hanging.

What appears on screen is only the visible part of the problem. Actors get cast in roles only if writers write them; projects get made only if commissioners commission them. TV and film are notoriously incestuous and competitive industries. Careers are unstable. Knowing someone who knows someone is often – too often – the only way of getting work.

According to figures produced this year by Creative Skillset, many media companies fail dismally when it comes to representation. Just 24 per cent of those in senior roles in cable or satellite firms are female; 4 per cent of employees in positions in senior terrestrial broadcast are BAME; and, if the numbers are to be believed, there are no BAME people at all working on the senior production side of independent film companies. The figures aren’t entirely robust – they rely on organisations filling in forms and returning them – but if they’re anywhere near the truth they make for grim reading.

The BBC’s statistics are more encouraging (according to the latest figures, BAME people make up 13.4 per cent of staff overall and hold 9.2 per cent of leadership roles) but don’t include freelancers, an area in which it is reasonable to suppose that, without quotas to fill, representation will be worse. In September, the media regulator Ofcom put broadcasters on notice that they could face “harder-edged” regulation if they did not improve diversity.

Chi Onwurah, the MP for Newcastle upon Tyne Central, who has been vocal about these matters in parliament, says that the BBC has a special duty to up its game. “It’s not doing enough,” she tells me. “If it was, there wouldn’t be a problem. It was very interesting watching the [European Union] referendum; all the efforts broadcasters have gone to to make sure there was balance. If they went to half that effort for BAME, gender and disability, it would be a different world.”

The BBC is keen to show that it is paying attention. Last year, it appointed Tunde Ogungbesan as its new head of “diversity, inclusion and succession”, and in April his team announced eye-catching targets: gender parity across every part of the corporation; 8 per cent of staff disabled; 8 per cent of staff lesbian, gay or trans; 15 per cent of staff from BAME backgrounds. Those numbers will be replicated on screen, lead roles included, and are roughly equivalent to averages for the overall population of Britain.

Yet the idea that established BBC presenters will go quietly seems optimistic. Take the ruckus that the comedian Jon Holmes recently raised when his contract with The Now Show (Radio 4) wasn’t renewed. Holmes asked in the Mail on Sunday: “Should I, as a white man . . . be fired from my job because I am a white man?”

Ogungbesan – a former head of diversity for Shell – has a businesslike attitude to the challenges he faces, which are, he concedes, considerable. “We’ve got four years to do this, and we know there’s a hell of a lot of work to do.” That is why his team has given itself a deadline. “Hopefully, when we hit those targets in 2020, we’ll be the most diverse broadcaster in the UK.”

How does he respond to Onwurah’s suggestion that the BBC is skilled at announcing targets but less good at making change happen? “We’re publishing our results,” he says. “You’ll be able to hold us to it.”

And what if the targets aren’t met? Ogun­gbesan laughs, for perhaps a touch too long. He will not consider the possibility. “I’m like a boxer. I refuse to look at it.”

***

If British TV and film don’t get their act together soon, there may be no one left to cast. Increasingly, black and Asian stars are decamping to America to make their career there. Among those who have joined the brain drain are Archie Panjabi and Cush Jumbo (The Good Wife), David Oyelowo (Selma) and Chiwetel Ejiofor (12 Years a Slave). Idris Elba, who brooded brilliantly in BBC1’s crime procedural Luther, would likely never have been cast in a big British series if he hadn’t already made a name in the United States with The Wire. Before she appeared in Undercover, Sophie Okonedo said in an interview that the scripts she was offered from the US far outnumbered those from the UK.

Visiting Los Angeles recently, I tracked down Parminder Nagra, who made her name in Bend It Like Beckham before being spotted by a producer for the long-running medical drama ER. In 2003 she was offered the role of the Anglo-American doctor Neela Rasgotra, which she played until the series ended in 2009. A big part in the NBC crime drama The Blacklist followed, along with other film and TV work.

She never intended to move, she says, laughing ruefully, when we meet at a café in a well-to-do suburb of LA populated by movie folk. She has worked occasionally elsewhere but, 13 years on, she is still on the west coast. “The jobs I’ve got, like most actors, haven’t come about in a conventional way. It’s generally because someone is open-minded enough to look at you.”

Although she is careful to make it clear that the US is far from a utopia in terms of how it portrays race, sexuality or gender on screen – she tells a gruesome tale of a white writer who sent her his attempt at an “Asian” character – Nagra senses that things are more open in the US. “It’s a bigger pond here, because of the sheer size of the country,” she says. “There are writers of colour in the UK, but what happens is that you’ve only got one or two people at the top who are making decisions about the taste of the country . . . Those people are white.”

The landscape is certainly more open in the US. Leaving aside the allegations about Bill Cosby, NBC’s Cosby Show (1984-92) was a force for good, with its focus on a middle-class African-American family and with the numerous ethnically diverse shows it made possible: A Different World, The Fresh Prince of Bel-Air, In Living Color, Scandal (the last was commissioned by the influential black writer-producer Shonda Rhimes). Back in the early 1980s, the gentle NBC sitcom Gimme a Break! – starring Nell Carter – explored issues of racism, too.

US cable and online subscription ­services are even more courageous. Netflix’s Orange Is the New Black has an ethnically kaleidoscopic cast and plotlines that vault across almost every conceivable question of gender, sexuality, body image and politics. Where it has apparently taken the BBC until 2016 to realise that families can be both black and upper middle class, ABC in the US was years ahead: in 2014 it commissioned Black-ish, which offers a subtle portrait of an advertising executive who frets that he is losing touch with both his Obama-era kids and his inner-city origins.

Nagra nods. “There still are a lot of issues here, but if you’re an actor of colour, there is more work. All those British period dramas are really well done, but there’s a yearning there: ‘Can I please just see somebody like me on TV?’”

The reason all this matters is that TV, theatre and film have a duty to show us not merely who we are, but who we can become. In Undercover, Okonedo becomes Britain’s first black, female director of public prosecutions: this may seem unlikely, given the state of the UK’s judiciary, yet seeing it on TV helps to shift perceptions. No one would argue that Okonedo’s co-star Dennis Haysbert got Barack Obama into the White House by playing a black president of the United States in 24, but perhaps it made such a world marginally more imaginable.

The time is overdue for British TV to abandon its fetish for bodices and show us what our nation actually looks like, in all its variety – and to be more imaginative about the kind of history it presents. Colour-blind casting is mainstream in theatre. Actors of various heritages appear in Pinter or Chekhov and no one raises an eyebrow.

Anthropologists argue that race and gender are forms of performance, sets of shared codes, rather than something intrinsic to who we are. Is it so difficult to imagine a Jane Austen production with performers of black or Asian heritage? Is that any harder to believe than the thousand impossibilities we witness every day in TV drama?

I ask Essiedu if he is optimistic. Yes, he says forcefully. “I have to be. Optimism is the only way we initiate change.”

When I put the same question to Nagra, she pauses to think. “I remember being asked about this when I started ER, and I was a bit tired of the issue even then. Yet here we still are.” Her expression is wry. “So ask me in ten years’ time.”

This article first appeared in the 24 November 2016 issue of the New Statesman, Blair: out of exile